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LEIDEN
BOSTON
2012
Brills Companion to Greek and
Latin Epyllion and Its Reception
Edited by
Manuel Baumbach and Silvio Br
2012 Koninklijke Brill NV ISBN 978 90 04 21432 3
CONTENTS
A Short Introduction to the Ancient Epyllion ....................................... ix
Manuel Baumbach & Silvio Br
Contributors ..................................................................................................... xvii
Abbreviations ................................................................................................... xxv
PART 1
HISTORY AND DEVELOPMENT OF THE TERM AND
CONCEPT OF THE EPYLLION
Before the Epyllion: Concepts and Texts ................................................ 3
Virgilio Masciadri
On the Origins of the Modern Term Epyllion: Some Revisions
to a Chapter in the History of Classical Scholarship ...................... 29
Stefan Tilg
Catullus 64: The Perfect Epyllion? ............................................................. 55
Gail Trimble
PART 2
THE ARCHAIC AND PRE-HELLENISTIC PERIOD
The Songs of Demodocus: Compression and Extension in Greek
Narrative Poetry ......................................................................................... 83
Richard Hunter
Demodokos Song of Ares and Aphrodite in Homers Odyssey
(8.266366): An Epyllion? Agonistic Performativity and
Cultural Metapoetics ................................................................................ 111
Anton Bierl
vi contents
2012 Koninklijke Brill NV ISBN 978 90 04 21432 3
Borderline Experiences with Genre: The Homeric Hymn to
Aphrodite between Epic, Hymn and Epyllic Poetry ........................ 135
Manuel Baumbach
Rhapsodic Hymns and Epyllia .................................................................... 149
Ivana Petrovic
A Proto-Epyllion? The Pseudo-Hesiodic Shield and The Poetics of
Deferral ......................................................................................................... 177
Peter Bing
PART 3
THE HELLENISTIC PERIOD
Pindaric Narrative Technique in the Hellenistic Epyllion ................. 201
Christine Luz
The Hecale and Hellenistic Conceptions of Short Hexameter
Narratives ..................................................................................................... 221
Kathryn Gutzwiller
Miniaturizing the Huge: Hercules on a Small Scale
(Theocritus Idylls 13 and 24) ................................................................... 245
Benjamin Acosta-Hughes
Herakles in Bits and Pieces: Id. 25 in the Corpus Theocriteum ......... 259
Thomas A. Schmitz
Achilles at Scyros, and One of His Fans: The Epithalamium of
Achilles and Deidameia (Buc. Gr. 157158 Gow) ............................... 283
Marco Fantuzzi
PART 4
THE LATE ROMAN REPUBLIC AND THE AUGUSTAN PERIOD
: The Erotika Pathemata of
Parthenius of Nicaea ................................................................................. 309
Jacqueline J.H. Klooster
contents vii
2012 Koninklijke Brill NV ISBN 978 90 04 21432 3
A Virgo Infelix: Calvus Io vis--vis Other Cow-And-Bull Stories ...... 333
Regina Hschele
The Tenth Book of Ovids Metamorphoses as Orpheus Epyllion .... 355
Ulrich Eigler
PART 5
THE IMPERIAL PERIOD
The Fast and the Furious: Triphiodorus Reception of Homer
in the Capture of Troy ............................................................................... 371
Vincent Tomasso
Musaeus, Hero and Leander: Between Epic and Novel ....................... 411
Nicola Nina Dmmler
Museum of Words:
Christodorus, the Art of Ekphrasis and the
Epyllic Genre ............................................................................................... 447
Silvio Br
The Motif of the Rape of Europa: Intertextuality and Absurdity
of the Myth in Epyllion and Epic Insets ............................................. 473
Peter Kuhlmann
PART 6
THE MIDDLE AGES AND BEYOND
Epyllion or Short Epic in the Latin Literature of the
Middle Ages? ............................................................................................... 493
Carmen Cardelle de Hartmann & Peter Stotz
Short Mythological Epic in Neo-Latin Literature ................................. 519
Martin Korenjak
Robert Burns Tam O Shanter: A Lallans Epyllion? ............................. 537
Ewen L. Bowie
viii contents
2012 Koninklijke Brill NV ISBN 978 90 04 21432 3
Bibliography ..................................................................................................... 563
General Index ................................................................................................... 597
Index Locorum ................................................................................................ 617
Index of Selected Greek Words .................................................................. 639
2012 Koninklijke Brill NV ISBN 978 90 04 21432 3
PART 6
THE MIDDLE AGES AND BEYOND
2012 Koninklijke Brill NV ISBN 978 90 04 21432 3
EPYLLION OR SHORT EPIC IN THE LATIN LITERATURE OF THE
MIDDLE AGES?
Carmen Cardelle de Hartmann & Peter Stotz
1.Introduction
As the epyllion is defined through its relation to and its distinction from
the epic, it is not easy to answer the question whether there exists a group
of texts in the Latin Middle Ages that ought to be referred to as epyl-
lia. We cannot discuss short epic poetry without first addressing the epic
itself, but defining the epic adequately for the Latin Middle Ages poses
special problems due to the mediaeval poets free way of dealing with
various literary traditions. Let us begin by surveying the forms of narrative
poetry at large in the Middle Ages in order to obtain a basis for further
discussion. Subsequently we shall present some attempts to delimit epic
poetry within such a corpus, and shall thereby encounter the specific kind
of difficulties in defining genres within the mediaeval Latin literature.
Eventually, returning to the original question, we shall study when and
in what contexts a concept epyllion was hitherto used in the study of
mediaeval Latin literature, and whether such a designation can be useful
and adequate to the texts.
2.Narrative Poetry in Mediaeval Latin Literature
In order to get a survey of the corpus of texts including epic and short epic
poetic forms, it is best to start by using just two very general character-
istics: as regards the content we are first concerned with narrative texts;
secondly, regarding the form, they are to be written in verse. Let us remark
that it is preferable to use verse in general as criterion, not exclusively
metric hexameters, as there is also narrative poetry in the Middle Ages
in distichs or even in rhythmic (i.e. in non-quantitative) verse without
this peculiarity being accompanied with any other ones regarding lan-
guage, style, or content.1 These two criteria, however, are not yet capable
1From the twelfth century onward, probably due to Ovidian influence, the distich starts
to gain ground in narrative poetry, cf. the observations in Schmidt (2001) 451. For biblical
poetry in rhythmic (i.e. non-quantitative) forms compare Kartschoke (1975) 229270.
494 carmen cardelle de hartmann & peter stotz
2012 Koninklijke Brill NV ISBN 978 90 04 21432 3
by themselves to establish a definition of mediaeval epics; they merely
delimit a working corpus of texts out of which presumably epic genres
may be crystallised. For the classification of the texts according to crite-
ria of content we follow two summary articles by Peter Christian Jacob-
sen and Jan Ziolkowski,2 both of whom use a general concept of epics,
whereas other authors use much more strict criteria of definition.3 As we
wish to present here merely a short approximate outline, we shall men-
tion only a few groups of texts usually subsumed under the heading epic
poetry. For all of these cases one ought to investigate in depth whether
they indeed form coherent groups, and, if so, what texts belong to them.
We shall use their common designations, such as beast epic or Bible
epic. The precise demarcations of these groups are controversial, as is, to
some degree, even their belonging to epics in general; hence we shall refer
to hagiographic epics only if we intend poems that would be recognised
as epics even by the proponents of a narrow definition of epics, but to
hagiographic poetry if we intend texts from our entire corpus.4
If we derive our concepts of what epics are from antique literature,
we shall find the first mediaeval epics only in the twelfth/thirteenth
century: a time when epics orient themselves by antique pagan models
both regarding their form and their content.5 One of these poems, Wal-
ter of Chtillons (*1230/40) Alexandreis, was even able to compete with
antique epics as school text in the late Middle Ages.6 Such a complete
recourse to antique models emerges only late and was to remain rare.
But the Christian unease with the figmenta poetarum, coupled with an
unimpaired admiration for the literary achievements of antiquity and a
desire to transmit the Christian message in a literarily sophisticated form
2Jacobsen (1986); Ziolkowski (1996).
3Cf. below, pp. 496503.
4Even such a differentiation is not easy; hence most authors discussing these groups
of texts prefer to recur to the more general notions. This can be well observed for poetry
on biblical themes where a vivid discussion took place: earlier scholars denied its belong-
ing to the genre epic altogether; as in the famous dictum of Curtius (1948) 457: Das
Bibelepos ist whrend seiner ganzen Lebenszeitvon Juvencus bis Klopstockeine
hybride und innerlich unwahre Gattung gewesen, ein genre faux. Authors like Herzog,
Kartschoke and Smolak have appealed against this verdict. Nonetheless, especially the
two latter scholars, also discussing mediaeval works, refer to texts where the influence of
epics is becoming more limited. They also designate the whole set of such texts as biblical
poetry ( Bibeldichtung).
5Tilliette (1985) showed in his discussion of the Virgilian influence on twelfth century
epics that the poets tend to refer explicitly to Virgil as their model but nevertheless orient
themselves, with regards to language and form, more by imperial and late antique epics.
6Colker (1978) xixxx.
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